This research introduces the term dramatized-performative narrative within the field of electroacoustic composition. It takes the form of an original portfolio of electroacoustic compositions, accompanied by a written text that explains: (1) the notion of dramatized-performative narrative, (2) a central method, based on this notion, that is employed throughout an accompanying portfolio of works, and (3) a brief discussion and analysis for each work in the portfolio.
The term dramatized-performative narrative is proposed to specify a bespoke type of narrative that derives from, and directs, the performative activities of others. Based on this idea, a compositional method for producing works that incorporate dramatized-performative narrative is proposed. The method specifically explores, and experiments with, various ways of: (1) predetermining dramatized performances through the use of a performance-score, (2) sonically capturing the executions of these performances with various recording techniques, and (3) using these recordings as the central material for composing and structuring electroacoustic works of music. The works that have been composed using this method are: four 8-channel compositions: Moments of Liberty, I - IV, and the three stereo compositions: Echo, the nymph of reflection and Once there was a forest, I and II. Taken as a whole, the compositions highlight the compositional, musical and narrative potential of this novel method.
The accompanying text begins with a brief introduction to the central writings on narrative and referential sound in electroacoustic music. It goes on to define the term dramatized-performative narrative in electroacoustic music, while setting out a series of research aims and objectives. Finally, it discusses the method itself and its relation to dramatized-performative narrative, and provides a brief analysis of each work in the accompanying portfolio.
